May 22, 2024 • 45 mins
Benita Silver’s passion lies in providing spiritual mentorship for high-energy healers who feel their soul calling them to make a bigger impact. With over 40 years of experience as a psychotherapist, she is IFS Level 3 Certified, an Intuitive Energy Healer, Tantrica, and Space Holder. She brings deep presence, compassion, and connection to those she serves. Through her work, her clients embrace themselves with love and serve as a powerful source of inspiration and guidance to others.
In this dream session hosted by Megan Mary, Benita's dream journal unfolds a profound narrative encompassing themes of independence, progression, and inner healing. The dream journey starts with an invitation to overcome isolation and accept oneself, transitions to a symbolic road trip signifying freedom and challenges, and culminates in a transformative encounter at a stranger's house. The dream intricately weaves together personal experiences, emotions, and aspirations, offering insights into the complexities of the dreamer's psyche. The narrative unfolds like a puzzle, inviting reflection on the interconnectedness of different life aspects.
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Music: An Mhaighdean Mhara, Margot Krimmel, solo harp from Ever the New Time Comes. https://www.boulderharp.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Megan Mary (00:00):
Welcome.
Today we have Benita Silver.
Benita's passion lies inproviding spiritual mentorship
for high energy healers who feeltheir soul calling them to make
a bigger impact.
With over 40 years of experienceas a psychotherapist, she is IFS
level three certified andintuitive energy healer,
(00:23):
tantrica, and space holder.
She brings deep presence,compassion, and connection to
those she serves.
Through her work, her clientsembrace themselves with love and
serve as a powerful source ofinspiration and guidance to
others.
She particularly loves servingthose who are entering into the
(00:46):
not knowing, the alchemical urnof creation, where mystery,
fear, and love meet.
and doubt transmute into magicand miracles.
Welcome Benita.
Benita Silver (01:03):
Thank you so much Megan Mary.
It's such a delight being here.
Megan Mary (01:07):
I love that last part about transmuting into
magic and miracles.
Yes.
Wonderful stuff.
Benita Silver (01:14):
So today
Megan Mary (01:17):
you have been so kind as to open up your dream
journal and share with us one ofyour dreams.
Which I really appreciate, and Iknow the listeners really love
these episodes.
So first I'm going to readthrough the Dream Journal.
(01:41):
And the title that you gave thedream is Henry's Place.
And you classify it as a lucidslash creative dream.
So let's start at the beginning.
There's three parts to thisdream, which a lot of dreams
have.
So we'll read it and then we'llgo through each part.
(02:02):
Part one, I'm at my friend'shome, although it's not his
actual home, I'm comingdownstairs and I see a group of
people, all of whom have beeninvited to a party.
I have not been invited.
It is very sunny in the livingroom and many people have
congregated.
I'm trying to decide if I'llexit through the back door or
(02:25):
walk through the group of peopleand exit the front door.
I choose to walk through thegroup of people feeling that I'm
fine with being seen.
There's no need to hide parttwo.
I'm driving North in NorthernNew Hampshire.
where I used to live, on thesole road that would take me to
(02:48):
the Canadian border.
I'm traveling through themountains of Pinkham Notch,
ascending.
It is cold and windy, and as istypical of the mountains, they
are large and composed ofgranite.
Three large semi trucks aredescending and have large red
(03:08):
brick tops of houses perched ontheir beds.
Although the truck beds arehorizontal, not following in
line behind the truck cabin,taking up much of the descending
road, and not blocking my way upthe notch.
The tops of the houses arelarge, strong, and hard.
(03:30):
They appear monolithic andsomewhat ominous.
I'm not sure if there arewindows or chimneys.
I continue my journey north withplans of crossing into Canada.
Part 3.
My husband Pierre and I arriveat a man's house whom we do not
(03:51):
know.
We apparently have parked thecar between his house and a
garage on the driveway.
The garage is on the right sideof the house as we face the
street and there's a littlespace between it and the man's
house.
We enter in the back door andsee the man seated in his living
room, dressed in a dark graysuit.
(04:14):
He is not surprised by ourentrance into his home, remains
seated, in his chair and saysnothing.
He is probably in his early 50s,dark and handsome.
Pierre and I are concerned thatthe police will see our car and
I suggest that we move it behindthe garage where it won't be
(04:35):
seen from the road.
Pierre agrees that it's a goodplan.
He goes upstairs with plans togo into the man's bedroom and
take some of the man's clothesfor himself.
I ask the man if I could borrowa sweatshirt or jacket.
He's okay with it.
Pierre comes downstairs withclothing in hand.
(04:57):
The man does not react.
Instead, he rises out of hischair and looks at the tall
house behind the garage.
His next door neighbor, which isHenry's house, and the man says
that he and Henry are too of akind.
and that they both are healers.
Okay.
(05:18):
I really love the progressionthere of the three different
parts because it's so typical ofreally the non linear manner of
our dreams.
And Sometimes we think, well,these three things have nothing
to do with each other, but Ilove the puzzle of the dream
(05:38):
story that they do, in fact, andthey just recombine themselves
into different ways.
So that's a wonderful dreamrecord.
First off, just wanna
Benita Silver (05:53):
thank you for that.
I might add, Megan Mary, thatthe where the party is being
held is Henry's house also, butit's a different house, not his
house.
Megan Mary (06:05):
Okay.
So he's the friend.
Yes.
So he's the friend.
Yeah.
Benita Silver (06:08):
Okay.
Got it.
So kind of coming full circle.
Megan Mary (06:11):
Yes.
So that's where we're going tostart really, because what we
want to do now is look at All ofthe people, places, settings,
objects, and then we're going toget into the emotions, actions,
(06:33):
and then we're going to look atit as a metaphor.
Benita Silver (06:37):
So,
Megan Mary (06:37):
initially, let's talk about.
Henry, so when I asked you aboutHenry, if you could use three
words to describe him, whatthree words would you use?
And then, and then I can tellyou the ones that you had
supplied initially.
Oh, okay.
Benita Silver (06:57):
So just off the top of my head, cause I don't
have the record of what I wrote,but creative, industrious, and I
consider him like a soulbrother.
Megan Mary (07:10):
Okay, you did say industrious and creative, and
then also spiritual.
Yes.
Okay.
And so you also added that he'san energy healer and artisan who
is constantly improving hishome, building gardens and
creating temple space and thathe hosts healing gatherings.
(07:32):
So it's very important that thesetting begins at this person's
house, even if it's not hishouse.
When we see a setting that isdifferent from a place that we
know.
So we know it's a person's home,but it's not their home in this
(07:53):
world.
We want to look at how it'sdifferent.
What made that house differentfrom Henry's home in real life?
Benita Silver (08:02):
Okay, so, so much of Henry's real life home is,
first he's got an expanse ofland, and he's got rock gardens
and gardens that he has created.
An underground sauna and hisentire home is decorated with
(08:23):
what he calls is bling crystalsand different kind of artifacts,
fine art luxurious pillows andtextiles and Oh, just all kinds
of just beauty every just aboutevery inch also mirrors and
(08:45):
tiles and So who is the one inthe dream different?
It's white and bright and I'mnot so aware in the dream of
furnishings or, any kind ofartwork.
It seems to be veryminimalistic.
Megan Mary (09:06):
Okay.
Benita Silver (09:06):
And, I'm inside, so I'm not aware of the
Megan Mary (09:09):
artwork.
Benita Silver (09:10):
Yeah.
Megan Mary (09:11):
Okay.
And that's good because I thinkit's important to understand the
contrast between.
That place in the 3D world andthat place in your dream,
particularly if it's that kindof differentiation where it's
plainer or if it's moreelaborate So that's important.
(09:34):
So you go down stairs and thatis For me, very much usually
that, that initial motion ofgoing downstairs, downstairs
many times or out back or in thecloset or behind the stage are
(09:58):
all those places where it's ourshadow.
where we obscure things fromourselves, where we store things
that we don't use, where we hidethings, we're going into the
depths.
So that being the very firstaction is very much indicative
(10:21):
of that.
Now it's not a dark placebecause you see a whole bunch of
people and it's very sunny, butDespite it being so light and
bright, you are immediatelyaware of the fact that you have
not been invited
Benita Silver (10:39):
right
Megan Mary (10:39):
and the fact that it's the.
living room and the way youdescribe it in that manner, the
metaphor of the living room isvery much the state of living
our living world as opposed tothe kitchen or the study or the
(11:02):
bedroom or any other rooms thatit could be.
And the living room shows upagain in part three.
So there is.
and underscored importance tothe, the metaphor of the living
room.
Benita Silver (11:17):
Right.
Megan Mary (11:19):
So you decide to exit.
That is your primary action, isto leave the situation, and
you're not sure whether to justwalk right through them, go out
the back door, go out the frontdoor, you realize you have these
options, and of course, a house.
(11:40):
Itself in dreams can be soindicative of our mind itself of
our internal presence and theback door in the front door also
having strong metaphors.
So it's interesting that youdecide to just walk through
them.
and go out the front door andthat you feel very comfortable
(12:08):
and confident in doing so.
So explain that situation.
Benita Silver (12:15):
Yeah.
So in that situation I was awareI wasn't invited, that there
were all these people that hadbeen invited.
And it was like, okay, so ShouldI just, not make my presence
known?
Should I just scoot out the backdoor, kind of play it down?
Or should I just, be myself andjust, okay, this is the reality
(12:39):
and hello and goodbye kind ofthing.
Megan Mary (12:43):
Yes.
Now, was this a lucid dream andwere you aware that you were
dreaming?
Benita Silver (12:49):
Yes.
Okay.
It's to some extent, but nottotally, I don't know if you,
you know, it's kind of, right.
Megan Mary (12:59):
Cause if you, if it was totally lucid and you
decided, Oh, this is a dream andI'm going out the front door,
that would be different thanright.
Your subconscious decides you'regoing out the front door.
And I think it's a good sign.
Especially if it's not a luciddream that you make the decision
to go straight through thatgroup of people not to hide, not
(13:20):
to try and get away from them,make your presence known and
also your decision to not bepart of it.
So I think that that is a strongopening to the dream and you
mentioned holding your headhigh.
And not hiding.
So a lot of a lot ofindependence there, a lot of
(13:41):
confidence and a lot ofdisregard for the fact that
maybe you're not going to beinclude included in what's
happening in this living.
Place.
Benita Silver (13:57):
Yeah, there was a feeling of neutrality that I
felt.
It wasn't like I was chargedabout not having been invited.
It's just like, Oh, okay.
So this is what's going on.
Okay.
So acceptance.
Megan Mary (14:10):
Right.
And, comfort.
Awesome.
And then we go to the secondstep.
Part where you're in thisdifferent scene and you're
driving now, I like that you'redriving because many times when
(14:32):
we are driving in our dreams, itmeans that we are feeling in
control of the direction of ourlives.
When we encounter a car that isbroken down.
We can't find our keys.
We can't get the ignition tostart.
We can't steer it.
All of these things that we'vealso experienced in our dreams,
(14:52):
those are completely differentmetaphors from I'm driving
myself.
And so that's.
a good sign right off the batand underscores that, that
agency that the first sceneshowed us.
So you're driving on this oneroad, you say, the sole road.
(15:12):
Hmm.
I like that.
Even though you spelled it S O LE as in the only.
I like the, the word play of thesoul road very much.
Is that all the time also?
Benita Silver (15:27):
Yes.
The soul journey.
Yes.
S O U L.
Yes.
S O L E.
Right.
Megan Mary (15:31):
Yes.
And so it is not lost herebecause it is definitely a, you
know, it may in fact be the onlyroad that goes to Canada, but
it's also, you're on this roadto your soul.
Right.
And I love that metaphor.
So you're traveling through themountains.
You're Ascending?
Yep.
So you're going up, you're notjust necessarily going north,
(15:54):
which we know geographically tobe true and re in this reality,
but you're actually goingupwards on this, on this ascent
ascension, also verymetaphorical.
And then there are these threelarge semi trucks coming down.
(16:16):
Yeah.
And I love how you explain howthey were kind of just like
filling the whole road.
They weren't staying in theirlane, right?
They're coming down almostsideways is how I visualize.
Yeah.
Right.
Yeah.
Benita Silver (16:30):
They were.
Triangular.
So they're coming down the roadlike this instead of the long
way.
Yeah, right,
Megan Mary (16:40):
right.
But interestingly, even thoughthey're not staying in their
lane, they're not blocking yourway.
Right.
Yeah.
Mm hmm.
So even though they're ominous,they're not really a full
obstruction for you.
Right.
And I think that that'simportant as well.
(17:02):
And tell me a little bit aboutthe connection here with your
husband because you mentionedthat he is from Quebec.
And so what is the importancehere of heading up to the
Canadian border?
Benita Silver (17:18):
Well so he was just granted his green card, his
permanent U.
S.
residency last month.
And and so during the year thatwe've been married and the two
years that we've known oneanother so he moved here a year
and a half ago.
And during that time, he's notbeen able to leave the country.
(17:40):
He has not been able to returnto his home country.
And of Quebec.
And so we do have plans.
And I used to live in NewHampshire.
My son and my grandkids and mydaughter in law are in
Massachusetts.
So we're going to be planning aroad trip up through, New
(18:00):
Hampshire.
He's going to see my oldstomping grounds and we're going
to proceed to Quebec and meethis family and his friends.
And yeah.
And so now there's.
The freedom that he has that hecan leave the country and I can
meet his family and friends.
Megan Mary (18:18):
Okay.
So without that background.
If I look up Canada and a dreamdictionary or mountains or
something else, it's not goingto tell me the specific meaning
that the mountains in that roadand that place in the country
has for you.
And what I'm hearing is that.
(18:40):
At this moment in your life.
It is specifically aboutfreedom.
Yes.
Yeah.
That is very much what that thatroad and that exchange of
residency and that being free tomove about the country as it is,
(19:00):
that that is really what this.
is about this place is about foryou.
And I want to talk about thesemi trucks.
If I didn't know what a semitruck was or what it would be
used for, what would you say thepurpose of a semi truck is for?
Benita Silver (19:26):
Yeah.
Well, I mean, they're like 18wheelers, these long haulers
that are transporting Goods, Iguess, across the country to
provide for the supply,providing a supply for the
demand of the consumer.
Megan Mary (19:47):
Okay, yes.
And I think that that'simportant because however you
might have described it could betotally, someone else would
describe the purpose of them alittle bit differently.
It's all in the word choice.
Right.
Right.
Okay.
So that's important becausethere's a little bit of this.
(20:11):
large, ominous, monolithic, thewords that you use a little bit,
I don't want to sayinsurmountable, but that's,
there's this feeling of this isa really big, three really big
things coming my way and they'renot blocking my way, but their
(20:39):
whole purpose is, is totransport something that is
needed.
By others, and I'm wonderingwhat those goods are in this
case.
Benita Silver (20:53):
Well, yeah, they're like the peak of the
houses.
Yeah, brick structures, which isunusual I mean in and of itself
red brick.
Huh.
And so, yeah.
Yes, kind of like yeah, so youmight have a couple floors and
(21:14):
then you have the peak with the,the roof
Megan Mary (21:18):
and red in dreams.
The color itself can very muchrepresent.
That assertion that that drivingdesire and so it's interesting
that you're driving and you alsohave this red color coming in
(21:40):
and then what are they butthey're peaks of houses and the
house the symbol of a house isvery strong in every single one
of the scenes.
Mm
Benita Silver (21:55):
hmm.
Megan Mary (21:55):
Mm hmm.
And the house can very muchrepresent your place in your
life.
It can represent, of course,security and, all of those
things as well.
But it's also your inner world,right?
(22:17):
And so the peak of the house.
And it being brick is very muchsimilar to the, the ominous,
like marble marbleness of themountains.
So we have all of this verystrong metaphors of, I want to
say that mountains are kind ofimmovable, right?
(22:39):
But they're also just very,picturesque and majestic, but
they're also very strong andthese giant semi trucks with
these giant brick tops of thehouses.
There's very much this feelingof strength, but.
(23:03):
Well, is this movable or is thisimmovable?
And so we'll, it'll make moresense when we get into part
three, because there are threeof those trucks.
And the three many times canrepresent the, the triad.
(23:26):
It can be so many things,whether you look at it from a
mystical or philosophicalviewpoint.
It can be the mind, body, andspirit.
It can be the growth of.
The one out of the two, it canbe the balance of the three and
(23:48):
so let's go to the third partnow.
So now I ask a question though,
Benita Silver (23:53):
because I'm, one of the things that just kind of.
Kicked up in my head was I waswondering when I had this dream
and cause I don't remember, butit was pretty soon right before
I submitted it to you.
And my sense is that at thetime, as I recall, we had not
(24:17):
yet been given the authorizationfrom the U S for Pierre's,
permanent residency.
So.
We were waiting.
We didn't know.
And yeah, we had some I'm noteven sure.
I think we, we had submitted thepaperwork or we were in process
of submitting the paperwork andthere were a lot of bells and
(24:40):
whistles and hoops to jumpthrough.
So, to get.
Everything in.
Megan Mary (24:46):
Okay.
So, that really plays a largepart into this because that's
that is this is this movable?
Is this immovable?
Is this insurmountable like themountains or is this movable?
Is the home going to be moving?
And here are these giant, gianttransportation things coming
down from that area with thehomes and he's trying to move
(25:11):
his home from the north into thesouthern lands at that point.
And so there's this.
ominous, not sure.
I'm not sure if there arewindows or chimneys.
I'm not sure if this issomething I need to be concerned
about or not.
It's not completely blocking me,but it's definitely looking like
(25:34):
it could be an issue.
It could be dangerous.
So that's definitely Playinginto this whole scenario of
what's happening in your life,
Benita Silver (25:45):
for sure.
Right.
And the fact that there were nowindows or chimneys, it was
there's no way out.
Megan Mary (25:51):
Oh, yes.
I was going to say outlet.
Yeah.
Benita Silver (25:53):
Outlet.
Right.
Yes.
Yeah.
Yes.
Megan Mary (25:58):
So, That s also very telling for sure.
Yeah, right.
So then enters another house.
And this time your husband sthere.
So part three you and yourhusband arrive at a another man
s house whom you do not know.
(26:19):
And we have the house and wehave the garage.
And you go in the back door.
Mm hmm.
Right.
Yes.
So that's important because Youdon't even know the person, but
you enter through the back dooras if you know the way.
(26:43):
So then you get in there andwhere, where do we enter?
Where are we again?
It's like a bookend.
The living room, except thistime there's the man in the gray
suit.
So tell me a little bit aboutthis man.
Benita Silver (27:04):
Yeah, just dark, handsome nondescript otherwise.
I have no idea.
Yeah, I didn't really get asense of His facial features or
if he had a beard or not he waslike in his fifties, this is
since I had, and, I guess, inretrospect, the fact that we
come in to his home and he justremained seated.
(27:27):
He wasn't disturbed.
He wasn't surprised or shockedor, and he just continued to sit
there and, you know, and andthen Pierre goes up the stairs
and then that's okay too.
Megan Mary (27:40):
Mm hmm.
And, but there's concern on yourpart.
Benita Silver (27:44):
Yes, there is.
So you're concerned
Megan Mary (27:46):
about the police seeing your car.
So tell me about that.
Mm hmm.
Benita Silver (27:51):
Yeah, so it was like the car was parked between
his house and the garage, and itwas like, Oh, well if, if the
police pass by they will see ourcar there.
And I don't know what that wasabout.
And so that's why I was like,okay, well, maybe we need to
(28:15):
move it.
We weren't engaging in any kindof criminal activity in this
man's house.
Megan Mary (28:22):
So, okay.
But there is concern that thepolice and so the police are a
new group of people introduced.
So there are a new aspect ofsomeone that you're concerned is
going to find out.
And so you move, you think youshould move it behind the garage
(28:43):
again behind, and that's so itwon't be seen.
So there's something there thatis, there's an attempt to
obscure and Pierre agrees thatit's a good idea.
Then he goes upstairs with, withthe plans to take the clothes.
(29:06):
Now, tell me about thatexchange.
When he goes to take theclothes.
Benita Silver (29:11):
Yeah.
Part of his way of being part ofthe culture, I believe is he's
gonna get his need met.
And so he had to get some newclothes, some other clothes in
order to change into.
And my sense, in the dream wasit was something like a jacket,
something warm.
And I know I asked for asweatshirt or a jacket,
(29:34):
something warm also, but alsoinsulated so maybe protective to
some extent.
Megan Mary (29:42):
Mm hmm.
Definitely.
Yes.
So many times when someoneappears in the dream that we
don't know, they can berepresentative of an aspect of
ourselves, or they can be aspirit guide, or they can be a
loved one from beyond, but ifit's someone that we don't know
(30:04):
many times, there's a reasonthat that person is present and
the way that they act or themessages that they bring or the
things that they do tell us thatthey're present.
And give us clues about a partof ourselves.
And so I think you're on theright track there with the, it's
(30:28):
not just clothing.
He's not going to get a pair ofshoes.
This is very much aboutinsulation and warmth and
protection from the cold, thecold and windy that was present
in part two, right?
That yeah.
is very much what you're bothseeking from this stranger.
(30:53):
And so at the end, we basicallyhear that this, he gets out of
his chair and he looks at the,at the house, Henry's house, and
then announces that him andHenry are both healers.
And That, to me, really speaksto the fact that Henry
(31:19):
represents that soul aspect.
You had said that Henry was yoursoul brother, and in part two,
you're on the soul road.
When you get to part three,this.
Unknown man basically pronouncesthat Henry and him are two of a
(31:41):
kind and both healers.
And so it's very possible thatthis, this gray man in the suit
is part of an aspect of you.
That is attempting to merge withthe soul, the soul brother, so
(32:02):
the two parts because when wehave two is very much a duality,
it's a reconciling of thoseopposites.
And sometimes it can be areconciling of different
viewpoints.
It can be a duality in arelationship.
It can be the dynamic betweenyourself and your husband, but
it can also be the dynamicbetween aspects of yourself.
(32:26):
Right.
Yeah.
And so the person being dressedin gray, the gray is the
complete opposite of red.
Benita Silver (32:36):
Yeah.
And also, I mean, the thingthat's keeps.
playing in my mind about hishe's wearing a suit.
It's like he's formally attired,but he's sitting in his living
room and yeah, and then I askedfor a sweatshirt.
It's like something casual, awarm, comfortable.
(32:59):
Yes.
And I do see that very, verypossibly of the dynamic that
I've been undergoing also interms of.
That I'm going to be letting goof my psychotherapy license in
June and the formality and allthat.
Megan Mary (33:17):
Yes.
So the man in the suit canrepresent that as well as the,
the changing the nationalities,all that situation that your
husband's going through, he canrepresent that.
The shielding, I think, is veryimportant.
Represented by the jacket, thesweatshirt, because the jacket
(33:39):
itself is a shield from thecold.
It's seeking that comfort inthat shielding is also present
just in the situation.
And I think it has multi layersof your psychotherapy
transition.
Layers of the nationalitytransition for your husband,
layers of the protection becausewe go from part one where you're
(34:05):
very independent and confidentto part two, where you're
starting to See that you're onthe road to freedom, but yet
feeling very isolated in thatjourney and seeing the, the
coming challenges that you'renot sure if they're going to be
insurmountable or not, eventhough you realize that you are
(34:27):
driving yourself and that youare ascending on that road.
And then we come to the thirdpart.
Where you're at yet anotherhouse and seeking shelter,
essentially seeking that safety.
So you are thinking about hidingthe car and you're thinking
(34:51):
about getting clothing andgathering resources and
gathering comfort andprotecting.
yourself in that situation.
And then the man, the one actionthat he does is to really point
out that additional house.
(35:15):
And by looking in that directionand saying
Benita Silver (35:18):
that
Megan Mary (35:20):
the two of making that profound statement that him
and Henry are two of a kind.
And so by presenting himself asa healer, he's really.
Letting you know about.
That aspect of yourself
Benita Silver (35:40):
that
Megan Mary (35:40):
you are able to overcome these potentially
ominous and insurmountable largemoving objects coming your way
and that you are able tocontinue to drive yourself on
that road that you can bringthat confidence and that
independence from part one intopart three.
Benita Silver (36:02):
Mm hmm.
Yeah.
Another thought that just arosewas like the garage.
It's sandwiched between twohouses.
And it provides shelter for thevehicles also.
And it provides shelter fromwhatever might be out there on
(36:23):
the road.
Right.
Megan Mary (36:25):
Yes.
And I'm glad you brought that upbecause it is important to look
at all of the objects, thegarage being one for sure.
And, and also garages likedownstairs are places that we
store things.
Yeah.
Yeah.
Yeah.
So the presence of the garageand it being sandwiched in
(36:46):
between these things is what'sinside that garage.
And is that what the invitationto healing is for?
Because I also like what yousaid in your notes about that
there was a little bit ofresentment that you had asked
(37:08):
and that your husband had justtaken.
And there's definitely a dynamicthere.
There's definitely somethingabout the, how do we meet our
needs?
Because what is the.
When I asked you about the semiand what is the purpose of the
semi, it's to supply the demandof the consumer.
(37:29):
Right.
And so your words choice of theimportance of that object is
echoed in The exchange thathappens with the clothing, the
demand and the need and how thatis supplied and whether it's
(37:51):
taken or whether it's requestedand how it's obtained.
Right.
And when we look at theprogression of the actions, and
we look at we just take a littlelittle pieces of the actions.
(38:12):
We start with coming downstairs,trying to decide.
Walking through, feeling fine,driving, ominous, not sure,
arriving, entering in the backdoor, concerned.
Move behind where it won't beseen, ask, and then healer,
(38:41):
someone who improves his home isone of the ways that you
described him, as well as veryimportantly and prolifically a
soul brother.
So there is that invitation toovercome that.
concern and that isolation byhealing through and finding that
(39:07):
security and that comfort andreconciling the opposites of
asking and taking and how that'sattained.
So now I'm going to pull you acard and see what cards have to
(39:29):
say.
Benita Silver (39:30):
Great.
Megan Mary (39:32):
Okay.
So we have first light beginninga new cycle.
Okay.
And what we see on here is avery bright.
I want to say it's the sun, butit could be the moon.
Benita Silver (39:52):
Okay, yeah,
Megan Mary (39:55):
and it's a wintery scene at the bottom, but on the
top, it's totally spring.
We got the bird in the nest withthe eggs.
That's perfect.
Yes.
Okay.
Benita Silver (40:14):
I tell you more about that.
Megan Mary (40:15):
Yes.
Okay.
And there may be a lot of otherthings here that you see.
There's the flower that isbeginning to bloom here.
So there's a, there's a lot of adifferent imagery here.
It's going from the, the snowymountains to that growth that.
(40:37):
The eggs waiting to be hatchedthe spring, the opening of the
flowers.
Benita Silver (40:45):
Yeah.
Well, when I see the the pinetree down at the bottom, I mean,
that was very indicative of NewHampshire, very snowy, cold
country and having moved toAsheville, North Carolina, much
more And of a feminine energyand New Hampshire and northern
(41:06):
New Hampshire in particular,very masculine energy with the
granite state and the granitemountains and yeah, and yeah.
And so the yeah, and that'scertainly beginning a new cycle,
newly married and waiting forPierre's, green card to come in
(41:30):
and green card representative ofgrowth also green and and for
the, the nest is reallysignificant with the eggs being
Because I felt Pierre coming infor a year before we met.
I wasn't looking for him, but Ifelt him and then whenever I
(41:52):
would take a walk, I would hearmourning doves and see mourning
doves and say, thank you, I knowhe's coming in.
And then after we met and inMexico, where it was very warm
and very sunny and I came backhome.
The morning doves had built anest on my windowsill and yeah,
(42:16):
so
Megan Mary (42:17):
wonderful.
Oh, that's beautiful.
Yes.
So the first light.
Also, when I asked you todescribe the.
Home in the first dream and howit was different from Henry's
real house, you said that it wasvery bright and very light.
Benita Silver (42:42):
And
Megan Mary (42:42):
so that's very much that.
Representation there too.
Benita Silver (42:47):
Right.
Well,
Megan Mary (42:52):
wonderful.
I thank you so much for sharingyour dream with everyone.
I hope you enjoyed the insightsand let everyone know where they
can find you online if they wantto explore more of what you have
to offer.
Benita Silver (43:09):
Thank you.
Yeah.
So people can find me atfearless.
healers.
com and I provide complimentaryconsultations.
As well as the possibility ofwhat's called a truth
transmission, which is it's anintuitive session and energy
(43:30):
session, healing sessions.
Megan Mary (43:33):
Awesome.
Cool.
Well, thank you so much forbeing here today again, and
thank you for sharing your dreamwith everyone.
Benita Silver (43:39):
Thank you so much.
It was just a total blast thing.
Awesome.
Welcome.
Today we have Benita Silver.
Benita's passion lies inproviding spiritual mentorship
for high energy healers who feeltheir soul calling them to make
a bigger impact.
With over 40 years of experienceas a psychotherapist, she is IFS
level three certified andintuitive energy healer,
(00:23):
tantrica, and space holder.
She brings deep presence,compassion, and connection to
those she serves.
Through her work, her clientsembrace themselves with love and
serve as a powerful source ofinspiration and guidance to
others.
She particularly loves servingthose who are entering into the
(00:46):
not knowing, the alchemical urnof creation, where mystery,
fear, and love meet.
and doubt transmute into magicand miracles.
Welcome Benita.
Benita Silver (01:03):
Thank you so much Megan Mary.
It's such a delight being here.
Megan Mary (01:07):
I love that last part about transmuting into
magic and miracles.
Yes.
Wonderful stuff.
Benita Silver (01:14):
So today
Megan Mary (01:17):
you have been so kind as to open up your dream
journal and share with us one ofyour dreams.
Which I really appreciate, and Iknow the listeners really love
these episodes.
So first I'm going to readthrough the Dream Journal.
(01:41):
And the title that you gave thedream is Henry's Place.
And you classify it as a lucidslash creative dream.
So let's start at the beginning.
There's three parts to thisdream, which a lot of dreams
have.
So we'll read it and then we'llgo through each part.
(02:02):
Part one, I'm at my friend'shome, although it's not his
actual home, I'm comingdownstairs and I see a group of
people, all of whom have beeninvited to a party.
I have not been invited.
It is very sunny in the livingroom and many people have
congregated.
I'm trying to decide if I'llexit through the back door or
(02:25):
walk through the group of peopleand exit the front door.
I choose to walk through thegroup of people feeling that I'm
fine with being seen.
There's no need to hide parttwo.
I'm driving North in NorthernNew Hampshire.
where I used to live, on thesole road that would take me to
(02:48):
the Canadian border.
I'm traveling through themountains of Pinkham Notch,
ascending.
It is cold and windy, and as istypical of the mountains, they
are large and composed ofgranite.
Three large semi trucks aredescending and have large red
(03:08):
brick tops of houses perched ontheir beds.
Although the truck beds arehorizontal, not following in
line behind the truck cabin,taking up much of the descending
road, and not blocking my way upthe notch.
The tops of the houses arelarge, strong, and hard.
(03:30):
They appear monolithic andsomewhat ominous.
I'm not sure if there arewindows or chimneys.
I continue my journey north withplans of crossing into Canada.
Part 3.
My husband Pierre and I arriveat a man's house whom we do not
(03:51):
know.
We apparently have parked thecar between his house and a
garage on the driveway.
The garage is on the right sideof the house as we face the
street and there's a littlespace between it and the man's
house.
We enter in the back door andsee the man seated in his living
room, dressed in a dark graysuit.
(04:14):
He is not surprised by ourentrance into his home, remains
seated, in his chair and saysnothing.
He is probably in his early 50s,dark and handsome.
Pierre and I are concerned thatthe police will see our car and
I suggest that we move it behindthe garage where it won't be
(04:35):
seen from the road.
Pierre agrees that it's a goodplan.
He goes upstairs with plans togo into the man's bedroom and
take some of the man's clothesfor himself.
I ask the man if I could borrowa sweatshirt or jacket.
He's okay with it.
Pierre comes downstairs withclothing in hand.
(04:57):
The man does not react.
Instead, he rises out of hischair and looks at the tall
house behind the garage.
His next door neighbor, which isHenry's house, and the man says
that he and Henry are too of akind.
and that they both are healers.
Okay.
(05:18):
I really love the progressionthere of the three different
parts because it's so typical ofreally the non linear manner of
our dreams.
And Sometimes we think, well,these three things have nothing
to do with each other, but Ilove the puzzle of the dream
(05:38):
story that they do, in fact, andthey just recombine themselves
into different ways.
So that's a wonderful dreamrecord.
First off, just wanna
Benita Silver (05:53):
thank you for that.
I might add, Megan Mary, thatthe where the party is being
held is Henry's house also, butit's a different house, not his
house.
Megan Mary (06:05):
Okay.
So he's the friend.
Yes.
So he's the friend.
Yeah.
Benita Silver (06:08):
Okay.
Got it.
So kind of coming full circle.
Megan Mary (06:11):
Yes.
So that's where we're going tostart really, because what we
want to do now is look at All ofthe people, places, settings,
objects, and then we're going toget into the emotions, actions,
(06:33):
and then we're going to look atit as a metaphor.
Benita Silver (06:37):
So,
Megan Mary (06:37):
initially, let's talk about.
Henry, so when I asked you aboutHenry, if you could use three
words to describe him, whatthree words would you use?
And then, and then I can tellyou the ones that you had
supplied initially.
Oh, okay.
Benita Silver (06:57):
So just off the top of my head, cause I don't
have the record of what I wrote,but creative, industrious, and I
consider him like a soulbrother.
Megan Mary (07:10):
Okay, you did say industrious and creative, and
then also spiritual.
Yes.
Okay.
And so you also added that he'san energy healer and artisan who
is constantly improving hishome, building gardens and
creating temple space and thathe hosts healing gatherings.
(07:32):
So it's very important that thesetting begins at this person's
house, even if it's not hishouse.
When we see a setting that isdifferent from a place that we
know.
So we know it's a person's home,but it's not their home in this
(07:53):
world.
We want to look at how it'sdifferent.
What made that house differentfrom Henry's home in real life?
Benita Silver (08:02):
Okay, so, so much of Henry's real life home is,
first he's got an expanse ofland, and he's got rock gardens
and gardens that he has created.
An underground sauna and hisentire home is decorated with
(08:23):
what he calls is bling crystalsand different kind of artifacts,
fine art luxurious pillows andtextiles and Oh, just all kinds
of just beauty every just aboutevery inch also mirrors and
(08:45):
tiles and So who is the one inthe dream different?
It's white and bright and I'mnot so aware in the dream of
furnishings or, any kind ofartwork.
It seems to be veryminimalistic.
Megan Mary (09:06):
Okay.
Benita Silver (09:06):
And, I'm inside, so I'm not aware of the
Megan Mary (09:09):
artwork.
Benita Silver (09:10):
Yeah.
Megan Mary (09:11):
Okay.
And that's good because I thinkit's important to understand the
contrast between.
That place in the 3D world andthat place in your dream,
particularly if it's that kindof differentiation where it's
plainer or if it's moreelaborate So that's important.
(09:34):
So you go down stairs and thatis For me, very much usually
that, that initial motion ofgoing downstairs, downstairs
many times or out back or in thecloset or behind the stage are
(09:58):
all those places where it's ourshadow.
where we obscure things fromourselves, where we store things
that we don't use, where we hidethings, we're going into the
depths.
So that being the very firstaction is very much indicative
(10:21):
of that.
Now it's not a dark placebecause you see a whole bunch of
people and it's very sunny, butDespite it being so light and
bright, you are immediatelyaware of the fact that you have
not been invited
Benita Silver (10:39):
right
Megan Mary (10:39):
and the fact that it's the.
living room and the way youdescribe it in that manner, the
metaphor of the living room isvery much the state of living
our living world as opposed tothe kitchen or the study or the
(11:02):
bedroom or any other rooms thatit could be.
And the living room shows upagain in part three.
So there is.
and underscored importance tothe, the metaphor of the living
room.
Benita Silver (11:17):
Right.
Megan Mary (11:19):
So you decide to exit.
That is your primary action, isto leave the situation, and
you're not sure whether to justwalk right through them, go out
the back door, go out the frontdoor, you realize you have these
options, and of course, a house.
(11:40):
Itself in dreams can be soindicative of our mind itself of
our internal presence and theback door in the front door also
having strong metaphors.
So it's interesting that youdecide to just walk through
them.
and go out the front door andthat you feel very comfortable
(12:08):
and confident in doing so.
So explain that situation.
Benita Silver (12:15):
Yeah.
So in that situation I was awareI wasn't invited, that there
were all these people that hadbeen invited.
And it was like, okay, so ShouldI just, not make my presence
known?
Should I just scoot out the backdoor, kind of play it down?
Or should I just, be myself andjust, okay, this is the reality
(12:39):
and hello and goodbye kind ofthing.
Megan Mary (12:43):
Yes.
Now, was this a lucid dream andwere you aware that you were
dreaming?
Benita Silver (12:49):
Yes.
Okay.
It's to some extent, but nottotally, I don't know if you,
you know, it's kind of, right.
Megan Mary (12:59):
Cause if you, if it was totally lucid and you
decided, Oh, this is a dream andI'm going out the front door,
that would be different thanright.
Your subconscious decides you'regoing out the front door.
And I think it's a good sign.
Especially if it's not a luciddream that you make the decision
to go straight through thatgroup of people not to hide, not
(13:20):
to try and get away from them,make your presence known and
also your decision to not bepart of it.
So I think that that is a strongopening to the dream and you
mentioned holding your headhigh.
And not hiding.
So a lot of a lot ofindependence there, a lot of
(13:41):
confidence and a lot ofdisregard for the fact that
maybe you're not going to beinclude included in what's
happening in this living.
Place.
Benita Silver (13:57):
Yeah, there was a feeling of neutrality that I
felt.
It wasn't like I was chargedabout not having been invited.
It's just like, Oh, okay.
So this is what's going on.
Okay.
So acceptance.
Megan Mary (14:10):
Right.
And, comfort.
Awesome.
And then we go to the secondstep.
Part where you're in thisdifferent scene and you're
driving now, I like that you'redriving because many times when
(14:32):
we are driving in our dreams, itmeans that we are feeling in
control of the direction of ourlives.
When we encounter a car that isbroken down.
We can't find our keys.
We can't get the ignition tostart.
We can't steer it.
All of these things that we'vealso experienced in our dreams,
(14:52):
those are completely differentmetaphors from I'm driving
myself.
And so that's.
a good sign right off the batand underscores that, that
agency that the first sceneshowed us.
So you're driving on this oneroad, you say, the sole road.
(15:12):
Hmm.
I like that.
Even though you spelled it S O LE as in the only.
I like the, the word play of thesoul road very much.
Is that all the time also?
Benita Silver (15:27):
Yes.
The soul journey.
Yes.
S O U L.
Yes.
S O L E.
Right.
Megan Mary (15:31):
Yes.
And so it is not lost herebecause it is definitely a, you
know, it may in fact be the onlyroad that goes to Canada, but
it's also, you're on this roadto your soul.
Right.
And I love that metaphor.
So you're traveling through themountains.
You're Ascending?
Yep.
So you're going up, you're notjust necessarily going north,
(15:54):
which we know geographically tobe true and re in this reality,
but you're actually goingupwards on this, on this ascent
ascension, also verymetaphorical.
And then there are these threelarge semi trucks coming down.
(16:16):
Yeah.
And I love how you explain howthey were kind of just like
filling the whole road.
They weren't staying in theirlane, right?
They're coming down almostsideways is how I visualize.
Yeah.
Right.
Yeah.
Benita Silver (16:30):
They were.
Triangular.
So they're coming down the roadlike this instead of the long
way.
Yeah, right,
Megan Mary (16:40):
right.
But interestingly, even thoughthey're not staying in their
lane, they're not blocking yourway.
Right.
Yeah.
Mm hmm.
So even though they're ominous,they're not really a full
obstruction for you.
Right.
And I think that that'simportant as well.
(17:02):
And tell me a little bit aboutthe connection here with your
husband because you mentionedthat he is from Quebec.
And so what is the importancehere of heading up to the
Canadian border?
Benita Silver (17:18):
Well so he was just granted his green card, his
permanent U.
S.
residency last month.
And and so during the year thatwe've been married and the two
years that we've known oneanother so he moved here a year
and a half ago.
And during that time, he's notbeen able to leave the country.
(17:40):
He has not been able to returnto his home country.
And of Quebec.
And so we do have plans.
And I used to live in NewHampshire.
My son and my grandkids and mydaughter in law are in
Massachusetts.
So we're going to be planning aroad trip up through, New
(18:00):
Hampshire.
He's going to see my oldstomping grounds and we're going
to proceed to Quebec and meethis family and his friends.
And yeah.
And so now there's.
The freedom that he has that hecan leave the country and I can
meet his family and friends.
Megan Mary (18:18):
Okay.
So without that background.
If I look up Canada and a dreamdictionary or mountains or
something else, it's not goingto tell me the specific meaning
that the mountains in that roadand that place in the country
has for you.
And what I'm hearing is that.
(18:40):
At this moment in your life.
It is specifically aboutfreedom.
Yes.
Yeah.
That is very much what that thatroad and that exchange of
residency and that being free tomove about the country as it is,
(19:00):
that that is really what this.
is about this place is about foryou.
And I want to talk about thesemi trucks.
If I didn't know what a semitruck was or what it would be
used for, what would you say thepurpose of a semi truck is for?
Benita Silver (19:26):
Yeah.
Well, I mean, they're like 18wheelers, these long haulers
that are transporting Goods, Iguess, across the country to
provide for the supply,providing a supply for the
demand of the consumer.
Megan Mary (19:47):
Okay, yes.
And I think that that'simportant because however you
might have described it could betotally, someone else would
describe the purpose of them alittle bit differently.
It's all in the word choice.
Right.
Right.
Okay.
So that's important becausethere's a little bit of this.
(20:11):
large, ominous, monolithic, thewords that you use a little bit,
I don't want to sayinsurmountable, but that's,
there's this feeling of this isa really big, three really big
things coming my way and they'renot blocking my way, but their
(20:39):
whole purpose is, is totransport something that is
needed.
By others, and I'm wonderingwhat those goods are in this
case.
Benita Silver (20:53):
Well, yeah, they're like the peak of the
houses.
Yeah, brick structures, which isunusual I mean in and of itself
red brick.
Huh.
And so, yeah.
Yes, kind of like yeah, so youmight have a couple floors and
(21:14):
then you have the peak with the,the roof
Megan Mary (21:18):
and red in dreams.
The color itself can very muchrepresent.
That assertion that that drivingdesire and so it's interesting
that you're driving and you alsohave this red color coming in
(21:40):
and then what are they butthey're peaks of houses and the
house the symbol of a house isvery strong in every single one
of the scenes.
Mm
Benita Silver (21:55):
hmm.
Megan Mary (21:55):
Mm hmm.
And the house can very muchrepresent your place in your
life.
It can represent, of course,security and, all of those
things as well.
But it's also your inner world,right?
(22:17):
And so the peak of the house.
And it being brick is very muchsimilar to the, the ominous,
like marble marbleness of themountains.
So we have all of this verystrong metaphors of, I want to
say that mountains are kind ofimmovable, right?
(22:39):
But they're also just very,picturesque and majestic, but
they're also very strong andthese giant semi trucks with
these giant brick tops of thehouses.
There's very much this feelingof strength, but.
(23:03):
Well, is this movable or is thisimmovable?
And so we'll, it'll make moresense when we get into part
three, because there are threeof those trucks.
And the three many times canrepresent the, the triad.
(23:26):
It can be so many things,whether you look at it from a
mystical or philosophicalviewpoint.
It can be the mind, body, andspirit.
It can be the growth of.
The one out of the two, it canbe the balance of the three and
(23:48):
so let's go to the third partnow.
So now I ask a question though,
Benita Silver (23:53):
because I'm, one of the things that just kind of.
Kicked up in my head was I waswondering when I had this dream
and cause I don't remember, butit was pretty soon right before
I submitted it to you.
And my sense is that at thetime, as I recall, we had not
(24:17):
yet been given the authorizationfrom the U S for Pierre's,
permanent residency.
So.
We were waiting.
We didn't know.
And yeah, we had some I'm noteven sure.
I think we, we had submitted thepaperwork or we were in process
of submitting the paperwork andthere were a lot of bells and
(24:40):
whistles and hoops to jumpthrough.
So, to get.
Everything in.
Megan Mary (24:46):
Okay.
So, that really plays a largepart into this because that's
that is this is this movable?
Is this immovable?
Is this insurmountable like themountains or is this movable?
Is the home going to be moving?
And here are these giant, gianttransportation things coming
down from that area with thehomes and he's trying to move
(25:11):
his home from the north into thesouthern lands at that point.
And so there's this.
ominous, not sure.
I'm not sure if there arewindows or chimneys.
I'm not sure if this issomething I need to be concerned
about or not.
It's not completely blocking me,but it's definitely looking like
(25:34):
it could be an issue.
It could be dangerous.
So that's definitely Playinginto this whole scenario of
what's happening in your life,
Benita Silver (25:45):
for sure.
Right.
And the fact that there were nowindows or chimneys, it was
there's no way out.
Megan Mary (25:51):
Oh, yes.
I was going to say outlet.
Yeah.
Benita Silver (25:53):
Outlet.
Right.
Yes.
Yeah.
Yes.
Megan Mary (25:58):
So, That s also very telling for sure.
Yeah, right.
So then enters another house.
And this time your husband sthere.
So part three you and yourhusband arrive at a another man
s house whom you do not know.
(26:19):
And we have the house and wehave the garage.
And you go in the back door.
Mm hmm.
Right.
Yes.
So that's important because Youdon't even know the person, but
you enter through the back dooras if you know the way.
(26:43):
So then you get in there andwhere, where do we enter?
Where are we again?
It's like a bookend.
The living room, except thistime there's the man in the gray
suit.
So tell me a little bit aboutthis man.
Benita Silver (27:04):
Yeah, just dark, handsome nondescript otherwise.
I have no idea.
Yeah, I didn't really get asense of His facial features or
if he had a beard or not he waslike in his fifties, this is
since I had, and, I guess, inretrospect, the fact that we
come in to his home and he justremained seated.
(27:27):
He wasn't disturbed.
He wasn't surprised or shockedor, and he just continued to sit
there and, you know, and andthen Pierre goes up the stairs
and then that's okay too.
Megan Mary (27:40):
Mm hmm.
And, but there's concern on yourpart.
Benita Silver (27:44):
Yes, there is.
So you're concerned
Megan Mary (27:46):
about the police seeing your car.
So tell me about that.
Mm hmm.
Benita Silver (27:51):
Yeah, so it was like the car was parked between
his house and the garage, and itwas like, Oh, well if, if the
police pass by they will see ourcar there.
And I don't know what that wasabout.
And so that's why I was like,okay, well, maybe we need to
(28:15):
move it.
We weren't engaging in any kindof criminal activity in this
man's house.
Megan Mary (28:22):
So, okay.
But there is concern that thepolice and so the police are a
new group of people introduced.
So there are a new aspect ofsomeone that you're concerned is
going to find out.
And so you move, you think youshould move it behind the garage
(28:43):
again behind, and that's so itwon't be seen.
So there's something there thatis, there's an attempt to
obscure and Pierre agrees thatit's a good idea.
Then he goes upstairs with, withthe plans to take the clothes.
(29:06):
Now, tell me about thatexchange.
When he goes to take theclothes.
Benita Silver (29:11):
Yeah.
Part of his way of being part ofthe culture, I believe is he's
gonna get his need met.
And so he had to get some newclothes, some other clothes in
order to change into.
And my sense, in the dream wasit was something like a jacket,
something warm.
And I know I asked for asweatshirt or a jacket,
(29:34):
something warm also, but alsoinsulated so maybe protective to
some extent.
Megan Mary (29:42):
Mm hmm.
Definitely.
Yes.
So many times when someoneappears in the dream that we
don't know, they can berepresentative of an aspect of
ourselves, or they can be aspirit guide, or they can be a
loved one from beyond, but ifit's someone that we don't know
(30:04):
many times, there's a reasonthat that person is present and
the way that they act or themessages that they bring or the
things that they do tell us thatthey're present.
And give us clues about a partof ourselves.
And so I think you're on theright track there with the, it's
(30:28):
not just clothing.
He's not going to get a pair ofshoes.
This is very much aboutinsulation and warmth and
protection from the cold, thecold and windy that was present
in part two, right?
That yeah.
is very much what you're bothseeking from this stranger.
(30:53):
And so at the end, we basicallyhear that this, he gets out of
his chair and he looks at the,at the house, Henry's house, and
then announces that him andHenry are both healers.
And That, to me, really speaksto the fact that Henry
(31:19):
represents that soul aspect.
You had said that Henry was yoursoul brother, and in part two,
you're on the soul road.
When you get to part three,this.
Unknown man basically pronouncesthat Henry and him are two of a
(31:41):
kind and both healers.
And so it's very possible thatthis, this gray man in the suit
is part of an aspect of you.
That is attempting to merge withthe soul, the soul brother, so
(32:02):
the two parts because when wehave two is very much a duality,
it's a reconciling of thoseopposites.
And sometimes it can be areconciling of different
viewpoints.
It can be a duality in arelationship.
It can be the dynamic betweenyourself and your husband, but
it can also be the dynamicbetween aspects of yourself.
(32:26):
Right.
Yeah.
And so the person being dressedin gray, the gray is the
complete opposite of red.
Benita Silver (32:36):
Yeah.
And also, I mean, the thingthat's keeps.
playing in my mind about hishe's wearing a suit.
It's like he's formally attired,but he's sitting in his living
room and yeah, and then I askedfor a sweatshirt.
It's like something casual, awarm, comfortable.
(32:59):
Yes.
And I do see that very, verypossibly of the dynamic that
I've been undergoing also interms of.
That I'm going to be letting goof my psychotherapy license in
June and the formality and allthat.
Megan Mary (33:17):
Yes.
So the man in the suit canrepresent that as well as the,
the changing the nationalities,all that situation that your
husband's going through, he canrepresent that.
The shielding, I think, is veryimportant.
Represented by the jacket, thesweatshirt, because the jacket
(33:39):
itself is a shield from thecold.
It's seeking that comfort inthat shielding is also present
just in the situation.
And I think it has multi layersof your psychotherapy
transition.
Layers of the nationalitytransition for your husband,
layers of the protection becausewe go from part one where you're
(34:05):
very independent and confidentto part two, where you're
starting to See that you're onthe road to freedom, but yet
feeling very isolated in thatjourney and seeing the, the
coming challenges that you'renot sure if they're going to be
insurmountable or not, eventhough you realize that you are
(34:27):
driving yourself and that youare ascending on that road.
And then we come to the thirdpart.
Where you're at yet anotherhouse and seeking shelter,
essentially seeking that safety.
So you are thinking about hidingthe car and you're thinking
(34:51):
about getting clothing andgathering resources and
gathering comfort andprotecting.
yourself in that situation.
And then the man, the one actionthat he does is to really point
out that additional house.
(35:15):
And by looking in that directionand saying
Benita Silver (35:18):
that
Megan Mary (35:20):
the two of making that profound statement that him
and Henry are two of a kind.
And so by presenting himself asa healer, he's really.
Letting you know about.
That aspect of yourself
Benita Silver (35:40):
that
Megan Mary (35:40):
you are able to overcome these potentially
ominous and insurmountable largemoving objects coming your way
and that you are able tocontinue to drive yourself on
that road that you can bringthat confidence and that
independence from part one intopart three.
Benita Silver (36:02):
Mm hmm.
Yeah.
Another thought that just arosewas like the garage.
It's sandwiched between twohouses.
And it provides shelter for thevehicles also.
And it provides shelter fromwhatever might be out there on
(36:23):
the road.
Right.
Megan Mary (36:25):
Yes.
And I'm glad you brought that upbecause it is important to look
at all of the objects, thegarage being one for sure.
And, and also garages likedownstairs are places that we
store things.
Yeah.
Yeah.
Yeah.
So the presence of the garageand it being sandwiched in
(36:46):
between these things is what'sinside that garage.
And is that what the invitationto healing is for?
Because I also like what yousaid in your notes about that
there was a little bit ofresentment that you had asked
(37:08):
and that your husband had justtaken.
And there's definitely a dynamicthere.
There's definitely somethingabout the, how do we meet our
needs?
Because what is the.
When I asked you about the semiand what is the purpose of the
semi, it's to supply the demandof the consumer.
(37:29):
Right.
And so your words choice of theimportance of that object is
echoed in The exchange thathappens with the clothing, the
demand and the need and how thatis supplied and whether it's
(37:51):
taken or whether it's requestedand how it's obtained.
Right.
And when we look at theprogression of the actions, and
we look at we just take a littlelittle pieces of the actions.
(38:12):
We start with coming downstairs,trying to decide.
Walking through, feeling fine,driving, ominous, not sure,
arriving, entering in the backdoor, concerned.
Move behind where it won't beseen, ask, and then healer,
(38:41):
someone who improves his home isone of the ways that you
described him, as well as veryimportantly and prolifically a
soul brother.
So there is that invitation toovercome that.
concern and that isolation byhealing through and finding that
(39:07):
security and that comfort andreconciling the opposites of
asking and taking and how that'sattained.
So now I'm going to pull you acard and see what cards have to
(39:29):
say.
Benita Silver (39:30):
Great.
Megan Mary (39:32):
Okay.
So we have first light beginninga new cycle.
Okay.
And what we see on here is avery bright.
I want to say it's the sun, butit could be the moon.
Benita Silver (39:52):
Okay, yeah,
Megan Mary (39:55):
and it's a wintery scene at the bottom, but on the
top, it's totally spring.
We got the bird in the nest withthe eggs.
That's perfect.
Yes.
Okay.
Benita Silver (40:14):
I tell you more about that.
Megan Mary (40:15):
Yes.
Okay.
And there may be a lot of otherthings here that you see.
There's the flower that isbeginning to bloom here.
So there's a, there's a lot of adifferent imagery here.
It's going from the, the snowymountains to that growth that.
(40:37):
The eggs waiting to be hatchedthe spring, the opening of the
flowers.
Benita Silver (40:45):
Yeah.
Well, when I see the the pinetree down at the bottom, I mean,
that was very indicative of NewHampshire, very snowy, cold
country and having moved toAsheville, North Carolina, much
more And of a feminine energyand New Hampshire and northern
(41:06):
New Hampshire in particular,very masculine energy with the
granite state and the granitemountains and yeah, and yeah.
And so the yeah, and that'scertainly beginning a new cycle,
newly married and waiting forPierre's, green card to come in
(41:30):
and green card representative ofgrowth also green and and for
the, the nest is reallysignificant with the eggs being
Because I felt Pierre coming infor a year before we met.
I wasn't looking for him, but Ifelt him and then whenever I
(41:52):
would take a walk, I would hearmourning doves and see mourning
doves and say, thank you, I knowhe's coming in.
And then after we met and inMexico, where it was very warm
and very sunny and I came backhome.
The morning doves had built anest on my windowsill and yeah,
(42:16):
so
Megan Mary (42:17):
wonderful.
Oh, that's beautiful.
Yes.
So the first light.
Also, when I asked you todescribe the.
Home in the first dream and howit was different from Henry's
real house, you said that it wasvery bright and very light.
Benita Silver (42:42):
And
Megan Mary (42:42):
so that's very much that.
Representation there too.
Benita Silver (42:47):
Right.
Well,
Megan Mary (42:52):
wonderful.
I thank you so much for sharingyour dream with everyone.
I hope you enjoyed the insightsand let everyone know where they
can find you online if they wantto explore more of what you have
to offer.
Benita Silver (43:09):
Thank you.
Yeah.
So people can find me atfearless.
healers.
com and I provide complimentaryconsultations.
As well as the possibility ofwhat's called a truth
transmission, which is it's anintuitive session and energy
(43:30):
session, healing sessions.
Megan Mary (43:33):
Awesome.
Cool.
Well, thank you so much forbeing here today again, and
thank you for sharing your dreamwith everyone.
Benita Silver (43:39):
Thank you so much.
It was just a total blast thing.
Awesome.
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